在完成了上一個科技部計劃後（從藝術家到天才型人物--巴爾札克和左拉寫作的異與同），筆者希望能延伸此比較研究案，改以「女人」和「創作」的關係做為新切入點，以審視兩位作家的寫作關係及「寫作理論」為目標，重新試著連結這兩位十九世紀作家及其作品。我們將從左拉的《作品》（1886）著手，看左拉如何藉由文中兩位男主角（桑多兹、克洛德）和女主角克麗絲汀的互動來定義「女人」這一複雜、多樣貌的角色。接著，我們將選擇和《作品》相似度極高的巴爾札克的《無人知道的傑作》（1831）來做為比較的範本，希望可以藉此來了解左拉作品的不同，看左拉是否忠於一再解說的「寫作理論」，看他是否在「女人」一角色上達成了其寫作最高目標──讓「自然主義」小說比「浪漫主義」（巴爾札克）小說來得更接近真實──，看一心只願以「科學」、「自然法律」甚至「遺傳學」做為唯一寫作準則的左拉如何在認同巴爾札克及其代表的「浪漫主義」的同時，透過人物形象的塑造來顯示出其堅持的「自然主義」的不同與深度。 ;After having completed our last MOST project (From Artist to Genius, the writing style differences and similarities between Balzac and Zola), we want to prolong this comparative research by focusing on the relationship between women and creation in order to examine the correlations between these two writers and their writing theory. We hope to establish new bridges between Balzac and Zola. We will be studying Zola’s “L’Œuvre”, written in 1886, to understand his definition of the extremely complex role of Christine, Woman’s incarnation, through her behavior with the two heroes of the story, Sandoz and Claude. Then, we will compare it with a very similar novel by Balzac, “Le chef-d’œuvre inconnu”, written in 1831, to observe the possible differences with Zola and see if he manages to remain faithful to his objective of creation and his writing leitmotiv: to distinguish himself from romanticism and from one of its most eminent champion - Balzac. Finally, we also want to see how Zola, while respecting the principle of "Science", "the law of nature" and "inheritance", somehow manages to extend Balzac's work and therefore romanticism. How does he succeed to distinguish himself and show the depth of his works and the interest of naturalism?
